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The Rise of the American Comics ArtistCreators and Contexts$

Paul Williams and James Lyons

Print publication date: 2010

Print ISBN-13: 9781604737929

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781604737929.001.0001

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(p.243) Contributors

(p.243) Contributors

Source:
The Rise of the American Comics Artist
Publisher:
University Press of Mississippi

  • David M. Ball is an Assistant Professor of English at Dickinson College where he teaches courses in multicultural and multidisciplinary American modernism and the graphic novel. His essays and reviews have appeared or are forthcoming in Modern Fiction Studies, ESQ: A Journal of the American Renaissance, South Atlantic Review, Critical Matrix, and College Literature. He is currently working on two book manuscripts, a co-edited volume of critical essays titled The Comics of Chris Ware: Drawing Is a Way of Thinking, from the University Press of Mississippi in 2010, and a study of the rhetoric of failure in American literature from 1850 to the present.

  • Ian Gordon is an Associate Professor in History and American Studies Convenor at the National University of Singapore. His books include Comic Strips and Consumer Culture (1998) and Film and Comic Books (2007). His article “Nostalgia, Myth, and Ideology: Visions of Superman at the End of the American Century” is reprinted in the Michael Ryan-edited anthology, Cultural Studies (2008).

  • Andrew Loman, Assistant Professor at Memorial University of Newfoundland, is the author of “Somewhat on the Community-System”: Fourierism in the Works of Nathaniel Hawthorne (Routledge, 2005) and essays in the Journal of American Studies and the Emerson Society Quarterly; his short fiction has appeared in the Canadian literary quarterly Exile. He is currently researching a book about his father, a survivor of concentration camps in WWII Indonesia.

  • Andrea A. Lunsford is the Louise Hewlett Nixon Professor of English and Humanities and Director of the Program in Writing and Rhetoric at Stanford University. She has designed and taught undergraduate and graduate courses in writing history and theory, rhetoric, literacy studies, and women’s writing and is the author or co-author of many books and articles, including The Everyday Writer, Essays on Classical Rhetoric and Modern Discourse, Singular (p.244) Texts/Plural Authors: Perspectives on Collaborative Writing, Reclaiming Rhetorica: Women in the History of Rhetoric, Everything’s an Argument, Exploring Borderlands: Composition and Postcolonial Studies, and Writing Matters: Rhetoric in Private and Public Lives.

  • James Lyons is Senior Lecturer in Film Studies at the University of Exeter. He is author of Selling Seattle (2004), and Miami Vice (2010), and co-editor of Quality Popular Television (with Mark Jancovich, 2003), and Multimedia Histories (with John Plunkett, 2007). He was a founding member of the editorial board for Scope: An Online Journal of Film Studies.

  • Ana Merino is associate professor at The University of Iowa. She has published a scholarly book on comics titled El Comic Hispanico (Cátedra, 2003), a critical monograph on Chris Ware (Sinsentido 2005), five books of poetry and one work of fiction. She was awarded the Diario de Avisos Award for best critical short article about comics for the Spanish literary magazine Leer. Merino is a member of the Board of Directors for the Center for Cartoon Studies and a member of the executive committee of International Comic Art Forum. Merino’s articles on comics have appeared in Leer, DDLV, The Comics Journal, International Journal of Comic Art, and Hispanic Issues. She has served as curator for three comics exhibitions and is the author of the bilingual catalogue Fantagraphics creadores del canon (2003).

  • Graham J. Murphy has published in Queer Universes: Sexualities in Science Fiction, The Routledge Companion to Science Fiction, Fifty Key Figures in Science Fiction, Science Fiction Studies, Extrapolation, Foundation, ImageTexT: Interdisciplinary Comics Studies, and a variety of other venues. He co-authored Ursula K. Le Guin: A Critical Companion (Greenwood) and has co-edited Beyond Cyberpunk: New Critical Perspectives (Routledge). His current research explores the critical intersections of post/human subjectivities and insect ontologies in speculative fictions. He teaches with Trent University’s Cultural Studies Department and its Department of English Literature as well as Seneca College of Applied Arts and Technology.

  • Chris Murray lectures in English and Film Studies at the University of Dundee. He is a central member of the Scottish Word and Image Group (SWIG), which organizes annual conferences on aspects of word and image study. He also organizes an annual comics conference in Dundee as part of the Dundee Literary Festival. His book on superheroes and propaganda will (p.245) be published by Hampton Press in 2010. Other publications include papers in Comics and Culture (Museum of Tusculaneum/University of Copenhagen Press, 2000), The Scottish Society of Art History Journal (2006), Sub/versions: Genre, Cultural Status and Critique (Cambridge Scholars Publishing, 2008), as well as several papers in The International Journal of Comic Art. He has contributed sections on comics to Encyclopedia Britannica, The Blackwell Encyclopedia of Cultural Theory, and The Greenwood Encyclopedia of Comics and Graphic Novels. He is co-editor, along with Julia Round, of the journal Studies in Comics, published by Intellect.

  • Adam Rosenblatt is a PhD candidate in Modern Thought and Literature at Stanford University. He is writing a dissertation about the forensic investigations of human rights violations, including the ethical treatment of dead bodies. He has also published articles about Argentinean comics and handcrafted mini-comics.

  • Julia Round (MA, PhD) lectures in Media and Communication at Bournemouth University, UK, and edits the academic journal Studies in Comics. She has published and presented work internationally on cross-media adaptation, the “graphic novel” redefinition, the application of literary criticism and terminology to comics, and the presence of gothic and fantastic motifs and themes in this medium. Further details are at www.juliaround.com.

  • Joe Sutliff Sanders is an assistant professor in the English Department at California State University—San Bernardino. His articles have appeared in The Journal of the Fantastic in the Arts, The Children’s Literature Association Quarterly, Foundation, The Sandman Papers, and The Lion and the Unicorn. He reviews graphic novels for the international journal Teacher Librarian.

  • Stephen Weiner, Director of the Maynard Public Library in Maynard, Massachusetts, holds an M.A. in Children’s Literature as well as an M.L.I.S., and has been a pioneering advocate for the inclusion of graphic novels in libraries and other educational settings. He has been writing about comics art since 1992, and his reviews and articles have appeared in numerous publications. He is also a sought-after speaker and has spoken at academic and library conferences at the regional, state, and national level since 1998. His books include Bring an Author to Your Library (1993), 100 Graphic Novels for Public Libraries (1996), The 101 Best Graphic Novels (2001), Faster than a Speeding Bullet: the Rise of the Graphic Novel (2003), and The 101 Best Graphic Novels—2nd Edition (p.246) (2005). In addition, he is co-author of The Will Eisner Companion (2004), Using Graphic Novels in the Classroom including Bone by Jeff Smith: A Guide for Teachers and Librarians (2005), and Hellboy: The Companion (2008).

  • Paul Williams is Teaching Fellow in Critical Theory, Twentieth-Century and Contemporary Literature at the University of Exeter. His work is concerned with how the idea of race and the assumptions of colonialism resurface in the representation of modern and future war, with several articles and chapters ranging across Vietnam War films, the nuclear criticism of the 1980s, and the relationship between hip-hop culture and the War on Terror. He is currently writing a book exploring how cultural texts have understood nuclear weapons as emblematic of “white” Western culture.